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13751_T
|
Puberty (Munch)
|
Focus on Puberty (Munch) and analyze the abstract.
|
Puberty (Norwegian: Pubertet) is an 1894–95 painting created by Norwegian artist Edvard Munch. Puberty has associations with both symbolism and expressionism, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as The Frieze of Life, that Munch created in 1890s, although he often revisited and explored themes and images from the series throughout his career. The painting was also done as a lithograph and an etching by Munch.
|
[
"symbolism",
"Edvard Munch",
"symbol",
"Norwegian",
"lithograph",
"Puberty",
"expressionism",
"etching",
"painting"
] |
|
13751_NT
|
Puberty (Munch)
|
Focus on this artwork and analyze the abstract.
|
Puberty (Norwegian: Pubertet) is an 1894–95 painting created by Norwegian artist Edvard Munch. Puberty has associations with both symbolism and expressionism, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as The Frieze of Life, that Munch created in 1890s, although he often revisited and explored themes and images from the series throughout his career. The painting was also done as a lithograph and an etching by Munch.
|
[
"symbolism",
"Edvard Munch",
"symbol",
"Norwegian",
"lithograph",
"Puberty",
"expressionism",
"etching",
"painting"
] |
|
13752_T
|
Puberty (Munch)
|
In Puberty (Munch), how is the Genesis discussed?
|
Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the Belgium artist and illustrator Félicien Rops,: 195 p. specifically the etching Le Plus Bel Amour De Don Juan [Don Juan's Greatest Love], published as an illustration in the second edition of Jules Amédée Barbey d’Aurevilly's book Les Diaboliques in 1882 (based on an earlier 1879 pencil drawing).: 5 p. ) However, art critics and historians have consistently noted the similarities; beginning with Przybyszewski (1894) the first publication ever devoted to Munch.: 35 p. Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in 1885 or 1886: 78 p. and "that this earlier version had been lost in a studio fire".: 195 p. In the late 1880s and into the mid-1890s, Munch, in his mid-twenties, had begun to create his series of Puberty pieces. At this time Munch had already established himself as a notable artist in Berlin. During this period of his life Munch often found residence in Berlin, where his newfound fame and circle of friends were. His new group of friends are attributed for helping push Munch further into his sexually depressed state of mind. Munch allowed this sexual depression to seep into Puberty and like other works he created later this piece was created with symbolism reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and occurrences of puberty in young adults.
|
[
"Jules Amédée Barbey d’Aurevilly",
"symbolism",
"Félicien Rops",
"Berlin",
"symbol",
"Les Diaboliques",
"Puberty",
"puberty",
"etching",
"painting",
"sexual depression",
"Jules Amédée Barbey d’Aurevilly's",
"Rops"
] |
|
13752_NT
|
Puberty (Munch)
|
In this artwork, how is the Genesis discussed?
|
Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the Belgium artist and illustrator Félicien Rops,: 195 p. specifically the etching Le Plus Bel Amour De Don Juan [Don Juan's Greatest Love], published as an illustration in the second edition of Jules Amédée Barbey d’Aurevilly's book Les Diaboliques in 1882 (based on an earlier 1879 pencil drawing).: 5 p. ) However, art critics and historians have consistently noted the similarities; beginning with Przybyszewski (1894) the first publication ever devoted to Munch.: 35 p. Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in 1885 or 1886: 78 p. and "that this earlier version had been lost in a studio fire".: 195 p. In the late 1880s and into the mid-1890s, Munch, in his mid-twenties, had begun to create his series of Puberty pieces. At this time Munch had already established himself as a notable artist in Berlin. During this period of his life Munch often found residence in Berlin, where his newfound fame and circle of friends were. His new group of friends are attributed for helping push Munch further into his sexually depressed state of mind. Munch allowed this sexual depression to seep into Puberty and like other works he created later this piece was created with symbolism reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and occurrences of puberty in young adults.
|
[
"Jules Amédée Barbey d’Aurevilly",
"symbolism",
"Félicien Rops",
"Berlin",
"symbol",
"Les Diaboliques",
"Puberty",
"puberty",
"etching",
"painting",
"sexual depression",
"Jules Amédée Barbey d’Aurevilly's",
"Rops"
] |
|
13753_T
|
Puberty (Munch)
|
In the context of Puberty (Munch), explore the Subject matter of the Genesis.
|
Munch's painting Puberty depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.Munch gave a number of titles to various versions of the motif, originally The Young Model, later Puberty, and still later At Night. "The image can thus sustain various interpretations, from a view of a model by an artist to an evocation of nocturnal sensual pleasures and terrors.": 197 p.
|
[
"symbol",
"left",
"Puberty",
"painting"
] |
|
13753_NT
|
Puberty (Munch)
|
In the context of this artwork, explore the Subject matter of the Genesis.
|
Munch's painting Puberty depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.Munch gave a number of titles to various versions of the motif, originally The Young Model, later Puberty, and still later At Night. "The image can thus sustain various interpretations, from a view of a model by an artist to an evocation of nocturnal sensual pleasures and terrors.": 197 p.
|
[
"symbol",
"left",
"Puberty",
"painting"
] |
|
13754_T
|
Puberty (Munch)
|
Focusing on the Genesis of Puberty (Munch), explain the Others' comments about the Subject matter.
|
Others' comments Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].
Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.: 195 p. : 79 p.
Munch himself (like the female he has portrayed in Puberty) feared sex due to the loss of his virginity to his cousin's wife.
|
[
"Edvard Munch",
"Félicien Rops",
"Les Diaboliques",
"Puberty",
"etching",
"painting",
"Arne Eggum",
"Rops"
] |
|
13754_NT
|
Puberty (Munch)
|
Focusing on the Genesis of this artwork, explain the Others' comments about the Subject matter.
|
Others' comments Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].
Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.: 195 p. : 79 p.
Munch himself (like the female he has portrayed in Puberty) feared sex due to the loss of his virginity to his cousin's wife.
|
[
"Edvard Munch",
"Félicien Rops",
"Les Diaboliques",
"Puberty",
"etching",
"painting",
"Arne Eggum",
"Rops"
] |
|
13755_T
|
Puberty (Munch)
|
Explore the Artistic growth of this artwork, Puberty (Munch).
|
Puberty was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.
|
[
"Puberty"
] |
|
13755_NT
|
Puberty (Munch)
|
Explore the Artistic growth of this artwork.
|
Puberty was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.
|
[
"Puberty"
] |
|
13756_T
|
Wächter (Anatol)
|
Focus on Wächter (Anatol) and discuss the abstract.
|
Wächter (German: [ˈvɛçtər], Guards or Guardians, also singular) is a series of large outdoor iron sculptures by Anatol Herzfeld, a student of Joseph Beuys who was both a traffic policeman and an artist, with a recurring theme. The sculptures are located at various places in Germany. One of them watches over a positive change in the environment, another is a monument to policemen killed in the line of duty.
|
[
"Anatol Herzfeld",
"outdoor",
"Anatol",
"Joseph Beuys"
] |
|
13756_NT
|
Wächter (Anatol)
|
Focus on this artwork and discuss the abstract.
|
Wächter (German: [ˈvɛçtər], Guards or Guardians, also singular) is a series of large outdoor iron sculptures by Anatol Herzfeld, a student of Joseph Beuys who was both a traffic policeman and an artist, with a recurring theme. The sculptures are located at various places in Germany. One of them watches over a positive change in the environment, another is a monument to policemen killed in the line of duty.
|
[
"Anatol Herzfeld",
"outdoor",
"Anatol",
"Joseph Beuys"
] |
|
13757_T
|
Wächter (Anatol)
|
How does Wächter (Anatol) elucidate its Background?
|
Anatol Herzfeld was born in Insterburg, East Prussia (now Chernyakhovsk, Russia) on 21 January 1931. During World War II, he and his family escaped to the Rhineland, where he first was a blacksmith and then a policeman. Teaching traffic rules to school children using puppets was one of his specialties. He studied sculpture at the Kunstakademie Düsseldorf with Joseph Beuys from 1964 to 1972. As an artist, he was known as Anatol. In 1982, he settled on the Museum Island of Hombroich near Düsseldorf, running a studio in a former barn.In a radio feature about Anatol, the function of the Wächter has been described as watching, defending and enlightening. Anatol is quoted: Ich war ja Verkehrspolizist. Und wenn Sie draußen sind, da sehen Sie diese Eisenkerle, das sind die Wächter. Und der Wächter hat ja was mit dem Beruf des Polizeibeamten nicht nur zu tun, sondern der Polizeibeamte ist ja ein Wächter. Der Wächter wird hingestellt, um das Geschehen zu beobachten und Gefahren abzuwehren und die Verdunkelung einer Sache zu verhüten. Es darf nicht nach einer Tat verdunkelt werden. Sondern aufgeklärt werden. Für uns alle.
I was actually a traffic policeman. And when you are outside, you see those iron guys; they're guardians. And a guardian is not just someone with something in common with the profession of police officers; the police officer is a guardian. A guardian is placed there to observe what is happening, ward off dangers and prevent something from being concealed. After a crime is committed, it must be cleared up, not covered up. For all of us.
|
[
"Anatol Herzfeld",
"Museum Island of Hombroich",
"Kunstakademie Düsseldorf",
"Anatol",
"Chernyakhovsk",
"Joseph Beuys",
"East Prussia",
"Insterburg",
"Düsseldorf"
] |
|
13757_NT
|
Wächter (Anatol)
|
How does this artwork elucidate its Background?
|
Anatol Herzfeld was born in Insterburg, East Prussia (now Chernyakhovsk, Russia) on 21 January 1931. During World War II, he and his family escaped to the Rhineland, where he first was a blacksmith and then a policeman. Teaching traffic rules to school children using puppets was one of his specialties. He studied sculpture at the Kunstakademie Düsseldorf with Joseph Beuys from 1964 to 1972. As an artist, he was known as Anatol. In 1982, he settled on the Museum Island of Hombroich near Düsseldorf, running a studio in a former barn.In a radio feature about Anatol, the function of the Wächter has been described as watching, defending and enlightening. Anatol is quoted: Ich war ja Verkehrspolizist. Und wenn Sie draußen sind, da sehen Sie diese Eisenkerle, das sind die Wächter. Und der Wächter hat ja was mit dem Beruf des Polizeibeamten nicht nur zu tun, sondern der Polizeibeamte ist ja ein Wächter. Der Wächter wird hingestellt, um das Geschehen zu beobachten und Gefahren abzuwehren und die Verdunkelung einer Sache zu verhüten. Es darf nicht nach einer Tat verdunkelt werden. Sondern aufgeklärt werden. Für uns alle.
I was actually a traffic policeman. And when you are outside, you see those iron guys; they're guardians. And a guardian is not just someone with something in common with the profession of police officers; the police officer is a guardian. A guardian is placed there to observe what is happening, ward off dangers and prevent something from being concealed. After a crime is committed, it must be cleared up, not covered up. For all of us.
|
[
"Anatol Herzfeld",
"Museum Island of Hombroich",
"Kunstakademie Düsseldorf",
"Anatol",
"Chernyakhovsk",
"Joseph Beuys",
"East Prussia",
"Insterburg",
"Düsseldorf"
] |
|
13758_T
|
Wächter (Anatol)
|
Focus on Wächter (Anatol) and analyze the Sculptures.
|
Several of Anatol's monumental outdoor sculptures are called Wächter (Guards or Guardians), early ones also Eisenmänner (Iron Men):Eisenmänner / Wächter (1993), Museum Insel Hombroich, Neuss
Wächter der Goitzsche (2000), Bitterfeld
Die Wächter der Kinder (2002), Viersen
Wächter, Neuss, inner court of the town hall
Wächter (2010/2011), Selm-Bork
|
[
"Selm",
"outdoor",
"Viersen",
"Bitterfeld",
"Anatol",
"Museum Insel Hombroich"
] |
|
13758_NT
|
Wächter (Anatol)
|
Focus on this artwork and analyze the Sculptures.
|
Several of Anatol's monumental outdoor sculptures are called Wächter (Guards or Guardians), early ones also Eisenmänner (Iron Men):Eisenmänner / Wächter (1993), Museum Insel Hombroich, Neuss
Wächter der Goitzsche (2000), Bitterfeld
Die Wächter der Kinder (2002), Viersen
Wächter, Neuss, inner court of the town hall
Wächter (2010/2011), Selm-Bork
|
[
"Selm",
"outdoor",
"Viersen",
"Bitterfeld",
"Anatol",
"Museum Insel Hombroich"
] |
|
13759_T
|
Wächter (Anatol)
|
Describe the characteristics of the Wächter der Goitzsche in Wächter (Anatol)'s Sculptures.
|
Wächter der Goitzsche (Guards of the Goitzsche) is the title of a group of up to ten large figures by Anatol. The group is one of 14 art installations at the Landschaftspark Goitzsche in Bitterfeld, Saxony-Anhalt, and is located on the western shore of the Paupitzscher See. The park was renaturalised from a former brown coal mining area, and the Wächter watch over the process.
|
[
"Paupitzscher See",
"brown coal",
"Bitterfeld",
"Anatol",
"Saxony-Anhalt",
"renaturalised"
] |
|
13759_NT
|
Wächter (Anatol)
|
Describe the characteristics of the Wächter der Goitzsche in this artwork's Sculptures.
|
Wächter der Goitzsche (Guards of the Goitzsche) is the title of a group of up to ten large figures by Anatol. The group is one of 14 art installations at the Landschaftspark Goitzsche in Bitterfeld, Saxony-Anhalt, and is located on the western shore of the Paupitzscher See. The park was renaturalised from a former brown coal mining area, and the Wächter watch over the process.
|
[
"Paupitzscher See",
"brown coal",
"Bitterfeld",
"Anatol",
"Saxony-Anhalt",
"renaturalised"
] |
|
13760_T
|
Wächter (Anatol)
|
In the context of Wächter (Anatol), explore the Die Wächter der Kinder of the Sculptures.
|
Die Wächter der Kinder (The Guardians of the Children) is a group of iron figures located at the Casinogarten park in Viersen.
|
[
"Viersen"
] |
|
13760_NT
|
Wächter (Anatol)
|
In the context of this artwork, explore the Die Wächter der Kinder of the Sculptures.
|
Die Wächter der Kinder (The Guardians of the Children) is a group of iron figures located at the Casinogarten park in Viersen.
|
[
"Viersen"
] |
|
13761_T
|
Wächter (Anatol)
|
In the context of Wächter (Anatol), explain the Wächter of the Sculptures.
|
Wächter (Guard) is an iron sculpture of one large figure with surrounding glacial erratics (Findlinge), placed in 2011 at the Landespolizeischule in Selm-Bork, a training and convention centre for the police, as a monument for police officers from North Rhine-Westphalia who were killed in the line of duty.
|
[
"North Rhine-Westphalia",
"Selm",
"glacial erratic"
] |
|
13761_NT
|
Wächter (Anatol)
|
In the context of this artwork, explain the Wächter of the Sculptures.
|
Wächter (Guard) is an iron sculpture of one large figure with surrounding glacial erratics (Findlinge), placed in 2011 at the Landespolizeischule in Selm-Bork, a training and convention centre for the police, as a monument for police officers from North Rhine-Westphalia who were killed in the line of duty.
|
[
"North Rhine-Westphalia",
"Selm",
"glacial erratic"
] |
|
13762_T
|
The Passing of Shah Jahan
|
Explore the abstract of this artwork, The Passing of Shah Jahan.
|
The Passing of Shah Jahan is a Miniature painting, painted by the Indian artist Abanindranath Tagore in 1902. The painting depicts a scene in which the fifth Mughal Emperor Shah Jahan stares upon the Taj Mahal on his deathbed, with his daughter Jahanara Begum at his feet. Initially involved with the dominant style of European Naturalism, Tagore's mentor Ernest Binfield Havell had introduced him to various types of Indian art. Of these varieties, Tagore was most impressed with old Mughal miniatures, which often featured emotionless, but detailed illustrations of scenes and characters. Incorporating this style with the traditional Indian artistic concept of Bhava', or emotion, Tagore had painted a scene based upon the growing re-interest in Indian history during the British Raj.
The painting had helped to establish Tagore as one of the most well known Indian artists of his time. In addition to creating a whole new movement of Indian style painting, Tagore later on went to paint more artwork depicting nationalist and swadeshi themes during the time of the Indian independence movement.
|
[
"Abanindranath Tagore",
"Naturalism",
"Shah Jahan",
"Ernest Binfield Havell",
"Miniature",
"Taj Mahal",
"Jahanara Begum",
"Indian independence movement",
"swadeshi"
] |
|
13762_NT
|
The Passing of Shah Jahan
|
Explore the abstract of this artwork.
|
The Passing of Shah Jahan is a Miniature painting, painted by the Indian artist Abanindranath Tagore in 1902. The painting depicts a scene in which the fifth Mughal Emperor Shah Jahan stares upon the Taj Mahal on his deathbed, with his daughter Jahanara Begum at his feet. Initially involved with the dominant style of European Naturalism, Tagore's mentor Ernest Binfield Havell had introduced him to various types of Indian art. Of these varieties, Tagore was most impressed with old Mughal miniatures, which often featured emotionless, but detailed illustrations of scenes and characters. Incorporating this style with the traditional Indian artistic concept of Bhava', or emotion, Tagore had painted a scene based upon the growing re-interest in Indian history during the British Raj.
The painting had helped to establish Tagore as one of the most well known Indian artists of his time. In addition to creating a whole new movement of Indian style painting, Tagore later on went to paint more artwork depicting nationalist and swadeshi themes during the time of the Indian independence movement.
|
[
"Abanindranath Tagore",
"Naturalism",
"Shah Jahan",
"Ernest Binfield Havell",
"Miniature",
"Taj Mahal",
"Jahanara Begum",
"Indian independence movement",
"swadeshi"
] |
|
13763_T
|
The Passing of Shah Jahan
|
Focus on The Passing of Shah Jahan and discuss the Subject.
|
The Passing of Shah Jahan depicts a scene with the fifth Mughal Emperor Shah Jahan, who had commissioned in his lifetime the Taj Mahal as a mausoleum for his favorite wife Mumtaz Mahal. The architectural facade which frames the painting clearly represents a painstaking replication of marble inlay work decoration and complex railing patterns. The painting's attention is concentrated upon two main figures: the dying Shah Jahan and his daughter Jahanara Begum at the end of his bed, while the Mughal emperor's gaze is drawn to a small depiction of the Taj Mahal in the upper corner.
|
[
"Mumtaz Mahal",
"Shah Jahan",
"Taj Mahal",
"Jahanara Begum"
] |
|
13763_NT
|
The Passing of Shah Jahan
|
Focus on this artwork and discuss the Subject.
|
The Passing of Shah Jahan depicts a scene with the fifth Mughal Emperor Shah Jahan, who had commissioned in his lifetime the Taj Mahal as a mausoleum for his favorite wife Mumtaz Mahal. The architectural facade which frames the painting clearly represents a painstaking replication of marble inlay work decoration and complex railing patterns. The painting's attention is concentrated upon two main figures: the dying Shah Jahan and his daughter Jahanara Begum at the end of his bed, while the Mughal emperor's gaze is drawn to a small depiction of the Taj Mahal in the upper corner.
|
[
"Mumtaz Mahal",
"Shah Jahan",
"Taj Mahal",
"Jahanara Begum"
] |
|
13764_T
|
The Passing of Shah Jahan
|
How does The Passing of Shah Jahan elucidate its Themes and composition?
|
Earlier renderings of the subject in literature had focused on Mughal wars of succession, and depicted Shah Jahan as an aging king whose illness and weakness had been the cause of instability and war. Locked in his room in the Red Fort by his son Aurangzeb, Shah Jahan was seen as a 'poor palace builder' whose only achievement was his monument to love: the Taj Mahal. Many British colonial authorities had gone further and sought to differentiate between the current regime and that of the Mughals, in order to demonstrate the lasting vitality of the British colonial Empire. Tagore's painting fits this description due to the widely available Colonial literature and attitude of the day.E.B Havell's interest in monuments and sculpture never found a place with Tagore. What had attracted him the most was the intimacy of relationship found in Indian art which was further exemplified by the selective realism in Mughal miniatures. Realism not in terms of surfaces, but rather of expressions. The three major types of painting that were to have inspired Tagore were British watercolor painting, Mughal miniatures, and Japanese painting. The incorporation of these styles is evident in The Passing of Shah Jahan. Tagore moved from a normative realism used as a tool for objective expression, into a freer naturalism that would draw attention to specific areas through realism.Tagore's works typically have no anonymity in form, and themes of individualism are almost always present; this has met with some criticism amongst art critiques. In addition, Tagore sought to incorporate Bhava, or feeling, into his artwork. This idea of 'feeling' was especially important to the 'Passing of Shah Jahan'; the painting had attempted to explain the romantic ideas of loss, focusing on Shah Jahan's imprisonment at the Red Fort and the loss of his wife. Prior to Tagore, this idea was never visualized, though many Mughal and Western artists had drawn many portraits and figures of Shah Jahan and other Mughal characters. However, neither group had attempted to illustrate the emotions of these characters nor did they contain narrative elements. Tagore's attempt to depict the pathos of Shah Jahan imprisoned in the Red Fort and his last look at the Taj Mahal was a revolutionary element in Indian painting, especially at a time when the study of Indian history gained attention by British colonialists and native Indian people.
|
[
"Red Fort",
"Shah Jahan",
"Aurangzeb",
"Taj Mahal"
] |
|
13764_NT
|
The Passing of Shah Jahan
|
How does this artwork elucidate its Themes and composition?
|
Earlier renderings of the subject in literature had focused on Mughal wars of succession, and depicted Shah Jahan as an aging king whose illness and weakness had been the cause of instability and war. Locked in his room in the Red Fort by his son Aurangzeb, Shah Jahan was seen as a 'poor palace builder' whose only achievement was his monument to love: the Taj Mahal. Many British colonial authorities had gone further and sought to differentiate between the current regime and that of the Mughals, in order to demonstrate the lasting vitality of the British colonial Empire. Tagore's painting fits this description due to the widely available Colonial literature and attitude of the day.E.B Havell's interest in monuments and sculpture never found a place with Tagore. What had attracted him the most was the intimacy of relationship found in Indian art which was further exemplified by the selective realism in Mughal miniatures. Realism not in terms of surfaces, but rather of expressions. The three major types of painting that were to have inspired Tagore were British watercolor painting, Mughal miniatures, and Japanese painting. The incorporation of these styles is evident in The Passing of Shah Jahan. Tagore moved from a normative realism used as a tool for objective expression, into a freer naturalism that would draw attention to specific areas through realism.Tagore's works typically have no anonymity in form, and themes of individualism are almost always present; this has met with some criticism amongst art critiques. In addition, Tagore sought to incorporate Bhava, or feeling, into his artwork. This idea of 'feeling' was especially important to the 'Passing of Shah Jahan'; the painting had attempted to explain the romantic ideas of loss, focusing on Shah Jahan's imprisonment at the Red Fort and the loss of his wife. Prior to Tagore, this idea was never visualized, though many Mughal and Western artists had drawn many portraits and figures of Shah Jahan and other Mughal characters. However, neither group had attempted to illustrate the emotions of these characters nor did they contain narrative elements. Tagore's attempt to depict the pathos of Shah Jahan imprisoned in the Red Fort and his last look at the Taj Mahal was a revolutionary element in Indian painting, especially at a time when the study of Indian history gained attention by British colonialists and native Indian people.
|
[
"Red Fort",
"Shah Jahan",
"Aurangzeb",
"Taj Mahal"
] |
|
13765_T
|
The Passing of Shah Jahan
|
Focus on The Passing of Shah Jahan and analyze the After completion.
|
The Passing of Shah Jahan won several awards. It was first exhibited at the Delhi Durbar Exhibition of Arts and Crafts (1902-1903), where it had won a silver medal. The painting was next exhibited at the Congress Industrial Exhibition (1903) where it had won a gold medal. After Tagore had received public recognition for his works, many other artists had begun to incorporate the same themes and techniques.Abanindranath Tagore was eventually known to be one of the most well known Indian artists of his time, both in and outside of Bengal, due to the nationalist works during the swadeshi years. Tagore went on to become a founder of the new school of Indian-style painting, though this became a role he had increasingly distanced himself from during his later years.
|
[
"Abanindranath Tagore",
"Shah Jahan",
"swadeshi"
] |
|
13765_NT
|
The Passing of Shah Jahan
|
Focus on this artwork and analyze the After completion.
|
The Passing of Shah Jahan won several awards. It was first exhibited at the Delhi Durbar Exhibition of Arts and Crafts (1902-1903), where it had won a silver medal. The painting was next exhibited at the Congress Industrial Exhibition (1903) where it had won a gold medal. After Tagore had received public recognition for his works, many other artists had begun to incorporate the same themes and techniques.Abanindranath Tagore was eventually known to be one of the most well known Indian artists of his time, both in and outside of Bengal, due to the nationalist works during the swadeshi years. Tagore went on to become a founder of the new school of Indian-style painting, though this became a role he had increasingly distanced himself from during his later years.
|
[
"Abanindranath Tagore",
"Shah Jahan",
"swadeshi"
] |
|
13766_T
|
Statue of Lorena Ochoa
|
In Statue of Lorena Ochoa, how is the abstract discussed?
|
A statue of former Mexican professional golfer Lorena Ochoa was installed in Puerto Vallarta, in 2012.In 2015, the bronze sculpture was removed from Centro for restoration, and later reported as missing or stolen. As of 2020, the statue is located at the entrance of Marina Vallarta Golf Club.
|
[
"Puerto Vallarta",
"bronze sculpture",
"Centro",
"Lorena Ochoa"
] |
|
13766_NT
|
Statue of Lorena Ochoa
|
In this artwork, how is the abstract discussed?
|
A statue of former Mexican professional golfer Lorena Ochoa was installed in Puerto Vallarta, in 2012.In 2015, the bronze sculpture was removed from Centro for restoration, and later reported as missing or stolen. As of 2020, the statue is located at the entrance of Marina Vallarta Golf Club.
|
[
"Puerto Vallarta",
"bronze sculpture",
"Centro",
"Lorena Ochoa"
] |
|
13767_T
|
Court Ladies Preparing Newly Woven Silk
|
Focus on Court Ladies Preparing Newly Woven Silk and explore the abstract.
|
Court Ladies Preparing Newly Woven Silk is a silk painting attributed to Emperor Huizong of the Song dynasty. It is the only extant copy of a lost original Court Ladies Preparing Newly Woven Wilk by Chinese artist Zhang Xuan. The painting depicts an annual imperial ceremony of silk production, held in spring. It shows three groups of Tang dynasty court ladies at work. Viewing from left, one figure sitting on the ground is preparing a thread and the other are sewing while sitting on a stool. The right group of four ladies are pounding the silk with wooden poles. The group stretching and ironing the silk and the right group which is pounding the silk with wooden poles are depicted in a diamond-shaped formation to produce the feeling of a three-dimensional space.Originally kept in the Palace Museum in Beijing, the painting was acquired by the Boston Museum of Fine Arts in August 1912.
|
[
"silk production",
"Song dynasty",
"silk painting",
"Emperor Huizong",
"Boston",
"Palace Museum",
"court ladies",
"Museum of Fine Arts",
"Zhang Xuan"
] |
|
13767_NT
|
Court Ladies Preparing Newly Woven Silk
|
Focus on this artwork and explore the abstract.
|
Court Ladies Preparing Newly Woven Silk is a silk painting attributed to Emperor Huizong of the Song dynasty. It is the only extant copy of a lost original Court Ladies Preparing Newly Woven Wilk by Chinese artist Zhang Xuan. The painting depicts an annual imperial ceremony of silk production, held in spring. It shows three groups of Tang dynasty court ladies at work. Viewing from left, one figure sitting on the ground is preparing a thread and the other are sewing while sitting on a stool. The right group of four ladies are pounding the silk with wooden poles. The group stretching and ironing the silk and the right group which is pounding the silk with wooden poles are depicted in a diamond-shaped formation to produce the feeling of a three-dimensional space.Originally kept in the Palace Museum in Beijing, the painting was acquired by the Boston Museum of Fine Arts in August 1912.
|
[
"silk production",
"Song dynasty",
"silk painting",
"Emperor Huizong",
"Boston",
"Palace Museum",
"court ladies",
"Museum of Fine Arts",
"Zhang Xuan"
] |
|
13768_T
|
Sky Fence
|
Focus on Sky Fence and explain the abstract.
|
Sky Fence is a public art work by artist Linda Howard located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The brushed aluminum sculpture has upright louvered elements; it is installed on the lawn. Howard erected the sculpture at Lynden in the fall of 1977. Of Sky Fence, Howard said, "The eye is forced up to the sky. It reaffirms the ground and transcends in the direction of the sky."
|
[
"Milwaukee",
"Lynden Sculpture Garden",
"Lynden",
"Linda Howard",
"Wisconsin",
"public art"
] |
|
13768_NT
|
Sky Fence
|
Focus on this artwork and explain the abstract.
|
Sky Fence is a public art work by artist Linda Howard located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The brushed aluminum sculpture has upright louvered elements; it is installed on the lawn. Howard erected the sculpture at Lynden in the fall of 1977. Of Sky Fence, Howard said, "The eye is forced up to the sky. It reaffirms the ground and transcends in the direction of the sky."
|
[
"Milwaukee",
"Lynden Sculpture Garden",
"Lynden",
"Linda Howard",
"Wisconsin",
"public art"
] |
|
13769_T
|
Statue of Yuri Gagarin, Greenwich
|
Explore the abstract of this artwork, Statue of Yuri Gagarin, Greenwich.
|
The Statue of Yuri Gagarin in Greenwich, London, is a zinc statue depicting the cosmonaut wearing a spacesuit and standing on top of a globe. The 3.5-metre (11 ft) high statue is a replica of an original by Anatoly Novikov in Lyubertsy, where Gagarin was trained as a foundry worker. It was a gift to the British Council from the Russian space agency Roscosmos as a part of several cultural events commemorating the 50th anniversary of the first human spaceflight.
The figure was originally unveiled on 14 July 2011 at a temporary location in the Mall, close to Admiralty Arch and facing the statue of Captain James Cook. This location was chosen as it was where Gagarin first met the then Prime Minister Harold Macmillan. It was later moved to the Royal Observatory, Greenwich, at a site overlooking the Prime Meridian line, and was unveiled at the new location on 7 March 2013. There had been an unsuccessful proposal to move it to Manchester.
|
[
"the first human spaceflight",
"Admiralty Arch",
"statue of Captain James Cook",
"Manchester",
"Harold Macmillan",
"Yuri Gagarin",
"the Mall",
"Prime Meridian",
"Royal Observatory, Greenwich",
"Lyubertsy",
"Roscosmos",
"British Council",
"London",
"Greenwich",
"Royal Observatory"
] |
|
13769_NT
|
Statue of Yuri Gagarin, Greenwich
|
Explore the abstract of this artwork.
|
The Statue of Yuri Gagarin in Greenwich, London, is a zinc statue depicting the cosmonaut wearing a spacesuit and standing on top of a globe. The 3.5-metre (11 ft) high statue is a replica of an original by Anatoly Novikov in Lyubertsy, where Gagarin was trained as a foundry worker. It was a gift to the British Council from the Russian space agency Roscosmos as a part of several cultural events commemorating the 50th anniversary of the first human spaceflight.
The figure was originally unveiled on 14 July 2011 at a temporary location in the Mall, close to Admiralty Arch and facing the statue of Captain James Cook. This location was chosen as it was where Gagarin first met the then Prime Minister Harold Macmillan. It was later moved to the Royal Observatory, Greenwich, at a site overlooking the Prime Meridian line, and was unveiled at the new location on 7 March 2013. There had been an unsuccessful proposal to move it to Manchester.
|
[
"the first human spaceflight",
"Admiralty Arch",
"statue of Captain James Cook",
"Manchester",
"Harold Macmillan",
"Yuri Gagarin",
"the Mall",
"Prime Meridian",
"Royal Observatory, Greenwich",
"Lyubertsy",
"Roscosmos",
"British Council",
"London",
"Greenwich",
"Royal Observatory"
] |
|
13770_T
|
Joseph Lister Memorial
|
Focus on Joseph Lister Memorial and discuss the abstract.
|
The Joseph Lister Memorial is a memorial to Joseph Lister, 1st Baron Lister by the sculptor Thomas Brock, situated in Portland Place in Marylebone, London. The memorial is positioned in the centre of the road opposite numbers 71 to 81 and is Grade II listed. It is close to Lister's home at 12 Park Crescent.The memorial was unveiled by Sir John Bland-Sutton, President of the Royal College of Surgeons, on 13 March 1924. The base of the monument is made of grey Aberdeen granite. On top of the base is a bronze bust of Joseph Lister. At the front are the figures of a woman and a boy: the boy is holding a garland of flowers; the woman is pointing to Lister with her right hand.A little way to the north in Park Crescent is the 1824 statue of the Duke of Kent, the father of Queen Victoria.
|
[
"Marylebone",
"Sir John Bland-Sutton",
"Thomas Brock",
"Royal College of Surgeons",
"Duke of Kent",
"Joseph Lister, 1st Baron Lister",
"Portland Place",
"Joseph Lister",
"1824 statue",
"John Bland-Sutton",
"Park Crescent",
"Queen Victoria",
"London",
"Lister Memorial"
] |
|
13770_NT
|
Joseph Lister Memorial
|
Focus on this artwork and discuss the abstract.
|
The Joseph Lister Memorial is a memorial to Joseph Lister, 1st Baron Lister by the sculptor Thomas Brock, situated in Portland Place in Marylebone, London. The memorial is positioned in the centre of the road opposite numbers 71 to 81 and is Grade II listed. It is close to Lister's home at 12 Park Crescent.The memorial was unveiled by Sir John Bland-Sutton, President of the Royal College of Surgeons, on 13 March 1924. The base of the monument is made of grey Aberdeen granite. On top of the base is a bronze bust of Joseph Lister. At the front are the figures of a woman and a boy: the boy is holding a garland of flowers; the woman is pointing to Lister with her right hand.A little way to the north in Park Crescent is the 1824 statue of the Duke of Kent, the father of Queen Victoria.
|
[
"Marylebone",
"Sir John Bland-Sutton",
"Thomas Brock",
"Royal College of Surgeons",
"Duke of Kent",
"Joseph Lister, 1st Baron Lister",
"Portland Place",
"Joseph Lister",
"1824 statue",
"John Bland-Sutton",
"Park Crescent",
"Queen Victoria",
"London",
"Lister Memorial"
] |
|
13771_T
|
Diana Bathing (Boucher)
|
How does Diana Bathing (Boucher) elucidate its abstract?
|
Diana Bathing or Diana Getting out of her Bath (French: Diane sortant du bain) is an oil-on-canvas painting by French artist François Boucher, created in 1742. It depicts the Roman goddess Diana, with a nymph as her companion. The painting was acquired in 1852 by the Louvre, in Paris.
|
[
"Louvre",
"François Boucher",
"Paris",
"Diana"
] |
|
13771_NT
|
Diana Bathing (Boucher)
|
How does this artwork elucidate its abstract?
|
Diana Bathing or Diana Getting out of her Bath (French: Diane sortant du bain) is an oil-on-canvas painting by French artist François Boucher, created in 1742. It depicts the Roman goddess Diana, with a nymph as her companion. The painting was acquired in 1852 by the Louvre, in Paris.
|
[
"Louvre",
"François Boucher",
"Paris",
"Diana"
] |
|
13772_T
|
Diana Bathing (Boucher)
|
Focus on Diana Bathing (Boucher) and analyze the Description.
|
The painting depicts in the foreground the naked goddess Diana, having just come out from her bath, with a female companion. Diana is recognizable by the crown of pearls that she wears, with a crescent-shaped jewel, and is in the company of a nymph kneeling at her feet.
The goddess is nude, sitting on silks that enhance her fair complexion and blonde hair; the nymph, to her right, and left of the canvas, has dark hair, and observes the legs of the goddess. The bright skin tones acquire reddish reflections, in contrast to the bluish green of the landscape.
The fact that the naked woman represented is the goddess of hunting is evidenced by her attributes, such as the quiver with the arrows, the two hunting dogs, and some prey. Diana sits on a silk fabric that symbolizes luxury and contrasts with the rural hinterland. Among the hunted animals there are two doves – symbols of love – which were often an attribute of Venice. Boucher used a similar motif in his work representing Venus Consoling Love. On the left there are two dogs, one drinks water from the pond where the goddess has just emerged, while the other turns his head.
|
[
"Venus Consoling Love",
"Diana"
] |
|
13772_NT
|
Diana Bathing (Boucher)
|
Focus on this artwork and analyze the Description.
|
The painting depicts in the foreground the naked goddess Diana, having just come out from her bath, with a female companion. Diana is recognizable by the crown of pearls that she wears, with a crescent-shaped jewel, and is in the company of a nymph kneeling at her feet.
The goddess is nude, sitting on silks that enhance her fair complexion and blonde hair; the nymph, to her right, and left of the canvas, has dark hair, and observes the legs of the goddess. The bright skin tones acquire reddish reflections, in contrast to the bluish green of the landscape.
The fact that the naked woman represented is the goddess of hunting is evidenced by her attributes, such as the quiver with the arrows, the two hunting dogs, and some prey. Diana sits on a silk fabric that symbolizes luxury and contrasts with the rural hinterland. Among the hunted animals there are two doves – symbols of love – which were often an attribute of Venice. Boucher used a similar motif in his work representing Venus Consoling Love. On the left there are two dogs, one drinks water from the pond where the goddess has just emerged, while the other turns his head.
|
[
"Venus Consoling Love",
"Diana"
] |
|
13773_T
|
Portrait of Charles Baudelaire
|
In Portrait of Charles Baudelaire, how is the abstract discussed?
|
Portrait of Charles Baudelaire is an oil-on-canvas portrait of the poet Charles Baudelaire by the French painter Gustave Courbet. It was painted in 1848 or early 1849, at a time when the poet and the painter had established a friendship.
|
[
"Baudelaire",
"Gustave Courbet",
"Charles Baudelaire"
] |
|
13773_NT
|
Portrait of Charles Baudelaire
|
In this artwork, how is the abstract discussed?
|
Portrait of Charles Baudelaire is an oil-on-canvas portrait of the poet Charles Baudelaire by the French painter Gustave Courbet. It was painted in 1848 or early 1849, at a time when the poet and the painter had established a friendship.
|
[
"Baudelaire",
"Gustave Courbet",
"Charles Baudelaire"
] |
|
13774_T
|
Portrait of Charles Baudelaire
|
Focus on Portrait of Charles Baudelaire and explore the History and description.
|
It was shown in the Courbet Pavilion at the Exposition Universelle of 1855, and was bought four years later by the publisher Auguste Poulet-Malassis, who then nominally sold it to Charles Asselineau on 15 June 1862 to prevent it being seized. Alfred Bruyas acquired it for 3000 francs and in 1876 gave it to the Musée Fabre in Montpellier, where it still hangs.This painting represents Baudelaire, then aged 26 years old. He depicts his young poet friend as a "damned poet". This painting was painted when Baudelaire was still rather unknown. Baudelaire is depicted in the center, immersed in his thoughts and inspiration. Courbet presents the classic elements of a writer with his pen and books. The colors used are dark but the light highlights the decor and not Baudelaire, which creates a parallel with the Spleen and the Ideal.
|
[
"Charles Asselineau",
"Musée Fabre",
"Baudelaire",
"Montpellier",
"Exposition Universelle",
"Alfred Bruyas",
"Auguste Poulet-Malassis"
] |
|
13774_NT
|
Portrait of Charles Baudelaire
|
Focus on this artwork and explore the History and description.
|
It was shown in the Courbet Pavilion at the Exposition Universelle of 1855, and was bought four years later by the publisher Auguste Poulet-Malassis, who then nominally sold it to Charles Asselineau on 15 June 1862 to prevent it being seized. Alfred Bruyas acquired it for 3000 francs and in 1876 gave it to the Musée Fabre in Montpellier, where it still hangs.This painting represents Baudelaire, then aged 26 years old. He depicts his young poet friend as a "damned poet". This painting was painted when Baudelaire was still rather unknown. Baudelaire is depicted in the center, immersed in his thoughts and inspiration. Courbet presents the classic elements of a writer with his pen and books. The colors used are dark but the light highlights the decor and not Baudelaire, which creates a parallel with the Spleen and the Ideal.
|
[
"Charles Asselineau",
"Musée Fabre",
"Baudelaire",
"Montpellier",
"Exposition Universelle",
"Alfred Bruyas",
"Auguste Poulet-Malassis"
] |
|
13775_T
|
Portrait of Maria Quitéria de Jesus Medeiros
|
Focus on Portrait of Maria Quitéria de Jesus Medeiros and explain the abstract.
|
Portrait of Maria Quitéria de Jesus Medeiros (Portuguese: Retrato de Maria Quitéria de Jesus Medeiros) is a painting by Domenico Failutti (1872-1923). Failutto, an Italian who worked in Brazil between 1917 and 1922, completed the work in 1920 on the occasion of the centenary of the Independence of Brazil. It depicts Maria Quitéria de Jesus (1792-1853), a combatant and folk hero in the campaign for the Independence of Bahia, a conflict part of the larger Brazilian independence movement.Quitéria served in the Brazilian War of Independence between 1822 and 1823 dressed as a man. She was subsequently promoted to cadet and Lieutenant, and ultimately decorated with the Imperial order. She, along with Maria Felipa de Oliveira (died 1873) and Sister Joana Angélica (1761-1822) of the Convent of Lapa in Salvador, are known as the three Bahian women resistance fighters in the War of Independence against the Portuguese.
|
[
"Maria Quitéria de Jesus",
"Convent of Lapa",
"Independence of Brazil",
"Maria Felipa de Oliveira",
"Joana Angélica",
"Domenico Failutti",
"Independence of Bahia",
"Salvador",
"Maria Quitéria"
] |
|
13775_NT
|
Portrait of Maria Quitéria de Jesus Medeiros
|
Focus on this artwork and explain the abstract.
|
Portrait of Maria Quitéria de Jesus Medeiros (Portuguese: Retrato de Maria Quitéria de Jesus Medeiros) is a painting by Domenico Failutti (1872-1923). Failutto, an Italian who worked in Brazil between 1917 and 1922, completed the work in 1920 on the occasion of the centenary of the Independence of Brazil. It depicts Maria Quitéria de Jesus (1792-1853), a combatant and folk hero in the campaign for the Independence of Bahia, a conflict part of the larger Brazilian independence movement.Quitéria served in the Brazilian War of Independence between 1822 and 1823 dressed as a man. She was subsequently promoted to cadet and Lieutenant, and ultimately decorated with the Imperial order. She, along with Maria Felipa de Oliveira (died 1873) and Sister Joana Angélica (1761-1822) of the Convent of Lapa in Salvador, are known as the three Bahian women resistance fighters in the War of Independence against the Portuguese.
|
[
"Maria Quitéria de Jesus",
"Convent of Lapa",
"Independence of Brazil",
"Maria Felipa de Oliveira",
"Joana Angélica",
"Domenico Failutti",
"Independence of Bahia",
"Salvador",
"Maria Quitéria"
] |
|
13776_T
|
Portrait of Maria Quitéria de Jesus Medeiros
|
Explore the Description of this artwork, Portrait of Maria Quitéria de Jesus Medeiros.
|
The painting is in oil on canvas. It measures 233 centimetres (92 in) high and 133 centimetres (52 in) wide.
Quitéria is depicted in the painting in military clothing holding a musket. The uniform is typical of the Batalhão dos Periquitos, which got its nickname due to the yellow color on the cuffs and collar of their blue uniform. The background is an idealized landscape of the Bahian Recôncavo, the interior of Bahia immediately near its state capital of Salvador. The Bahian Recôncavo was the stage fighting in which Quitéria participated. The Paraguaçu River is depicted flowing towards the horizon; it connects the interior city of Cachoeira, the scene of the independence movement, to the Bay of All Saints at Salvador.Maria Quitéria wears the insignia of Knight of the Imperial Order of Cruzeiro on her left breast, a distinction offered by Dom Pedro I to prominent figures in the fight for the Independence of Brazil. The insignia of the Imperial Order is formed by a white star with five forked and maçanetada points; the portrait incorrectly depicts it as a four-pointed star.
|
[
"Imperial Order of Cruzeiro",
"Paraguaçu River",
"Independence of Brazil",
"Bahian Recôncavo",
"Salvador",
"Dom Pedro I",
"Bay of All Saints",
"Maria Quitéria"
] |
|
13776_NT
|
Portrait of Maria Quitéria de Jesus Medeiros
|
Explore the Description of this artwork.
|
The painting is in oil on canvas. It measures 233 centimetres (92 in) high and 133 centimetres (52 in) wide.
Quitéria is depicted in the painting in military clothing holding a musket. The uniform is typical of the Batalhão dos Periquitos, which got its nickname due to the yellow color on the cuffs and collar of their blue uniform. The background is an idealized landscape of the Bahian Recôncavo, the interior of Bahia immediately near its state capital of Salvador. The Bahian Recôncavo was the stage fighting in which Quitéria participated. The Paraguaçu River is depicted flowing towards the horizon; it connects the interior city of Cachoeira, the scene of the independence movement, to the Bay of All Saints at Salvador.Maria Quitéria wears the insignia of Knight of the Imperial Order of Cruzeiro on her left breast, a distinction offered by Dom Pedro I to prominent figures in the fight for the Independence of Brazil. The insignia of the Imperial Order is formed by a white star with five forked and maçanetada points; the portrait incorrectly depicts it as a four-pointed star.
|
[
"Imperial Order of Cruzeiro",
"Paraguaçu River",
"Independence of Brazil",
"Bahian Recôncavo",
"Salvador",
"Dom Pedro I",
"Bay of All Saints",
"Maria Quitéria"
] |
|
13777_T
|
Portrait of Maria Quitéria de Jesus Medeiros
|
Focus on Portrait of Maria Quitéria de Jesus Medeiros and discuss the Purchase and display.
|
The work was commissioned by the Ipiranga Museum in São Paulo to place in its Hall of Honor, where it remains; Failutti also painted portraits of Sister Joana Angélica and Princess Leopoldina of Brazil (1847-1871) for the museum.
|
[
"São Paulo",
"Joana Angélica",
"Ipiranga Museum",
"Princess Leopoldina of Brazil"
] |
|
13777_NT
|
Portrait of Maria Quitéria de Jesus Medeiros
|
Focus on this artwork and discuss the Purchase and display.
|
The work was commissioned by the Ipiranga Museum in São Paulo to place in its Hall of Honor, where it remains; Failutti also painted portraits of Sister Joana Angélica and Princess Leopoldina of Brazil (1847-1871) for the museum.
|
[
"São Paulo",
"Joana Angélica",
"Ipiranga Museum",
"Princess Leopoldina of Brazil"
] |
|
13778_T
|
Still Life of Fruit, Dead Birds, and a Monkey
|
How does Still Life of Fruit, Dead Birds, and a Monkey elucidate its Painting?
|
Fruit, Dead Birds, and a Monkey has a: peculiar collection of objects: the grapes are covered with bloom, a peach is going rotten, and there’s a fly on an apple. The little monkey, busy feeding from nuts, is gazing at a small pile of dead birds.
|
[
"Painting"
] |
|
13778_NT
|
Still Life of Fruit, Dead Birds, and a Monkey
|
How does this artwork elucidate its Painting?
|
Fruit, Dead Birds, and a Monkey has a: peculiar collection of objects: the grapes are covered with bloom, a peach is going rotten, and there’s a fly on an apple. The little monkey, busy feeding from nuts, is gazing at a small pile of dead birds.
|
[
"Painting"
] |
|
13779_T
|
Still Life of Fruit, Dead Birds, and a Monkey
|
Focus on Still Life of Fruit, Dead Birds, and a Monkey and analyze the Provenance.
|
The early history of the painting is not known. As of 1953, it was held by the Mullers. It was auctioned at Sotheby's to Miss Belleri on July 6, 1966. It has since been auctioned again at Sotheby's (December 11, 1991) and for 103,250 pounds at Christie's (April 24, 2009).
|
[
"Christie's",
"Sotheby's",
"painting"
] |
|
13779_NT
|
Still Life of Fruit, Dead Birds, and a Monkey
|
Focus on this artwork and analyze the Provenance.
|
The early history of the painting is not known. As of 1953, it was held by the Mullers. It was auctioned at Sotheby's to Miss Belleri on July 6, 1966. It has since been auctioned again at Sotheby's (December 11, 1991) and for 103,250 pounds at Christie's (April 24, 2009).
|
[
"Christie's",
"Sotheby's",
"painting"
] |
|
13780_T
|
Still Life of Fruit, Dead Birds, and a Monkey
|
In Still Life of Fruit, Dead Birds, and a Monkey, how is the Legacy discussed?
|
A History of Pictures for Children by David Hockney and Martin Gayford discusses the painting in the "Light and Shadows" chapter.
|
[
"David Hockney",
"A History of Pictures for Children",
"painting",
"Martin Gayford"
] |
|
13780_NT
|
Still Life of Fruit, Dead Birds, and a Monkey
|
In this artwork, how is the Legacy discussed?
|
A History of Pictures for Children by David Hockney and Martin Gayford discusses the painting in the "Light and Shadows" chapter.
|
[
"David Hockney",
"A History of Pictures for Children",
"painting",
"Martin Gayford"
] |
|
13781_T
|
The Bridge in Curve
|
Focus on The Bridge in Curve and explore the abstract.
|
The Bridge in Curve is a painting completed in 1930 by Australian artist Grace Cossington Smith, depicting the Sydney Harbour Bridge during its construction. The work is now considered one of Australia's best modernist paintings, but was rejected from exhibition in 1930.
Since 1967 the painting has been part of the collection of the National Gallery of Victoria in Melbourne.
|
[
"Melbourne",
"Sydney Harbour Bridge",
"modernist",
"1930",
"National Gallery of Victoria",
"Australian art",
"Sydney",
"Grace Cossington Smith"
] |
|
13781_NT
|
The Bridge in Curve
|
Focus on this artwork and explore the abstract.
|
The Bridge in Curve is a painting completed in 1930 by Australian artist Grace Cossington Smith, depicting the Sydney Harbour Bridge during its construction. The work is now considered one of Australia's best modernist paintings, but was rejected from exhibition in 1930.
Since 1967 the painting has been part of the collection of the National Gallery of Victoria in Melbourne.
|
[
"Melbourne",
"Sydney Harbour Bridge",
"modernist",
"1930",
"National Gallery of Victoria",
"Australian art",
"Sydney",
"Grace Cossington Smith"
] |
|
13782_T
|
The Bridge in Curve
|
Focus on The Bridge in Curve and explain the Background.
|
According to the National Gallery of Australia, Smith painted The Bridge in Curve, which is based on drawings made at Milsons Point on the North Shore, during an important phase of her career as an artist, when the importance of colour and the application of paint in small strokes gave her paintings a "brilliant vitality". Smith had become interested in colour theory and used this painting as an opportunity to demonstrate it with the blue and white of the sky contrasting with the more earthy colours of the buildings and vegetation.
|
[
"National Gallery of Australia",
"Milsons Point",
"colour theory"
] |
|
13782_NT
|
The Bridge in Curve
|
Focus on this artwork and explain the Background.
|
According to the National Gallery of Australia, Smith painted The Bridge in Curve, which is based on drawings made at Milsons Point on the North Shore, during an important phase of her career as an artist, when the importance of colour and the application of paint in small strokes gave her paintings a "brilliant vitality". Smith had become interested in colour theory and used this painting as an opportunity to demonstrate it with the blue and white of the sky contrasting with the more earthy colours of the buildings and vegetation.
|
[
"National Gallery of Australia",
"Milsons Point",
"colour theory"
] |
|
13783_T
|
The Bridge in Curve
|
Explore the Construction of the bridge about the Background of this artwork, The Bridge in Curve.
|
Sydney Harbour Bridge was built to better connect the North Shore suburbs with Sydney and reduce water traffic. A Royal Commission reported on the potential for a link in 1909, and ground was finally broken on the 28 July 1923. September 1926 saw the completion of the piers that would support the spans approaching the arch. Construction of the arch started on each shore in 1928, and they met for the first time on 19 August 1930. The bridge opened to the public in 1932.
|
[
"Sydney Harbour Bridge",
"1930",
"Sydney"
] |
|
13783_NT
|
The Bridge in Curve
|
Explore the Construction of the bridge about the Background of this artwork.
|
Sydney Harbour Bridge was built to better connect the North Shore suburbs with Sydney and reduce water traffic. A Royal Commission reported on the potential for a link in 1909, and ground was finally broken on the 28 July 1923. September 1926 saw the completion of the piers that would support the spans approaching the arch. Construction of the arch started on each shore in 1928, and they met for the first time on 19 August 1930. The bridge opened to the public in 1932.
|
[
"Sydney Harbour Bridge",
"1930",
"Sydney"
] |
|
13784_T
|
The Bridge in Curve
|
Focus on The Bridge in Curve and discuss the Reception.
|
Upon completion the painting was rejected from the Society of Artists exhibition of 1930. The painting was only purchased for the National Gallery of Victoria in 1967, which has been criticised as indicative of the neglect of Cossington Smith's work.The Bridge in Curve has since been identified as "one of Australia's most significant modernist paintings". It was described as a masterpiece of bridge painting by Ursula Prinster, curator of a 1982 Art Gallery of New South Wales exhibition on paintings of the Harbour bridge. Others have provided fuller descriptions of the painting'[It] integrates earth-bound realities with the sweeping, soaring movement of the forming bridge structure, curving across the land and into the sky, the two cranes a bit like Brancusi birds, perched on the edge of possibility.
The contrast between the bridge and its surroundings is highlighted by art historians. The differentiation between the distant, obscure shore, and the blocks of colour in the foreground, with the detailed and delicate depiction of the bridge's struts and girders has been noted, the bridge seeming to rise above the chaos below.
|
[
"Art Gallery of New South Wales",
"modernist",
"1930",
"National Gallery of Victoria"
] |
|
13784_NT
|
The Bridge in Curve
|
Focus on this artwork and discuss the Reception.
|
Upon completion the painting was rejected from the Society of Artists exhibition of 1930. The painting was only purchased for the National Gallery of Victoria in 1967, which has been criticised as indicative of the neglect of Cossington Smith's work.The Bridge in Curve has since been identified as "one of Australia's most significant modernist paintings". It was described as a masterpiece of bridge painting by Ursula Prinster, curator of a 1982 Art Gallery of New South Wales exhibition on paintings of the Harbour bridge. Others have provided fuller descriptions of the painting'[It] integrates earth-bound realities with the sweeping, soaring movement of the forming bridge structure, curving across the land and into the sky, the two cranes a bit like Brancusi birds, perched on the edge of possibility.
The contrast between the bridge and its surroundings is highlighted by art historians. The differentiation between the distant, obscure shore, and the blocks of colour in the foreground, with the detailed and delicate depiction of the bridge's struts and girders has been noted, the bridge seeming to rise above the chaos below.
|
[
"Art Gallery of New South Wales",
"modernist",
"1930",
"National Gallery of Victoria"
] |
|
13785_T
|
Statue of Edward VI (Cartwright)
|
How does Statue of Edward VI (Cartwright) elucidate its abstract?
|
The statue of Edward VI by Thomas Cartwright at St Thomas' Hospital, Lambeth, London is one of two statues of that king at the hospital. Both commemorate Edward's re-founding of the institution in 1551. The statue was designed by Nathaniel Hanwell and carved by Thomas Cartwright in 1682, during the rebuilding undertaken by Sir Robert Clayton when President of the hospital. The statue originally formed the centrepiece of a group of figures which adorned the gateway on Borough High Street. It was moved to its current location at the north entrance to the North Wing on Lambeth Palace Road in the 20th century. It was designated a Grade II* listed structure in 1979.
|
[
"Edward's",
"Sir Robert Clayton",
"Grade II* listed structure",
"Thomas Cartwright",
"Lambeth Palace Road",
"Edward VI",
"St Thomas' Hospital",
"Borough High Street",
"London",
"Lambeth"
] |
|
13785_NT
|
Statue of Edward VI (Cartwright)
|
How does this artwork elucidate its abstract?
|
The statue of Edward VI by Thomas Cartwright at St Thomas' Hospital, Lambeth, London is one of two statues of that king at the hospital. Both commemorate Edward's re-founding of the institution in 1551. The statue was designed by Nathaniel Hanwell and carved by Thomas Cartwright in 1682, during the rebuilding undertaken by Sir Robert Clayton when President of the hospital. The statue originally formed the centrepiece of a group of figures which adorned the gateway on Borough High Street. It was moved to its current location at the north entrance to the North Wing on Lambeth Palace Road in the 20th century. It was designated a Grade II* listed structure in 1979.
|
[
"Edward's",
"Sir Robert Clayton",
"Grade II* listed structure",
"Thomas Cartwright",
"Lambeth Palace Road",
"Edward VI",
"St Thomas' Hospital",
"Borough High Street",
"London",
"Lambeth"
] |
|
13786_T
|
Statue of Edward VI (Cartwright)
|
Describe the characteristics of the Edward VI in Statue of Edward VI (Cartwright)'s History.
|
Edward VI was the son of Henry VIII and his third queen, Jane Seymour. Born on 12 October 1537, he succeed his father at the age of nine in 1547 but never attained his majority, dying aged 15 in 1553. During the Reformation St Thomas', as a religious foundation, was deprived of its revenues and estates and was closed in 1540. In 1551, Edward granted a charter for the hospital's refounding.
|
[
"Reformation",
"Edward VI",
"Henry VIII",
"Jane Seymour"
] |
|
13786_NT
|
Statue of Edward VI (Cartwright)
|
Describe the characteristics of the Edward VI in this artwork's History.
|
Edward VI was the son of Henry VIII and his third queen, Jane Seymour. Born on 12 October 1537, he succeed his father at the age of nine in 1547 but never attained his majority, dying aged 15 in 1553. During the Reformation St Thomas', as a religious foundation, was deprived of its revenues and estates and was closed in 1540. In 1551, Edward granted a charter for the hospital's refounding.
|
[
"Reformation",
"Edward VI",
"Henry VIII",
"Jane Seymour"
] |
|
13787_T
|
Statue of Edward VI (Cartwright)
|
In the context of Statue of Edward VI (Cartwright), explore the St Thomas' Hospital of the History.
|
The origin of St Thomas' Hospital was the sick house attached to the Church of St Mary Overie in Southwark, founded in the 12th century. By the late 17th century, the hospital was in a dilapidated state and Sir Robert Clayton, the hospital's President, employed Thomas Cartwright, a master mason and a governor of St Thomas', to undertake complete rebuilding. Cartwright had worked as a mason for Christopher Wren at St Paul's Cathedral. The new buildings, of red brick and in a classical style, were completed just after Clayton's death, in 1709. The statue of Edward, along with its accompanying figures, decorated a gateway in the new complex. In 1872, following the complete reconstruction of the hospital on land further up the River Thames at Lambeth, the statue was moved to the new site and has been repositioned subsequently.
|
[
"Sir Robert Clayton",
"classical",
"Southwark",
"Thomas Cartwright",
"master mason",
"St Thomas' Hospital",
"Christopher Wren",
"Church of St Mary Overie",
"River Thames",
"St Paul's Cathedral",
"Lambeth"
] |
|
13787_NT
|
Statue of Edward VI (Cartwright)
|
In the context of this artwork, explore the St Thomas' Hospital of the History.
|
The origin of St Thomas' Hospital was the sick house attached to the Church of St Mary Overie in Southwark, founded in the 12th century. By the late 17th century, the hospital was in a dilapidated state and Sir Robert Clayton, the hospital's President, employed Thomas Cartwright, a master mason and a governor of St Thomas', to undertake complete rebuilding. Cartwright had worked as a mason for Christopher Wren at St Paul's Cathedral. The new buildings, of red brick and in a classical style, were completed just after Clayton's death, in 1709. The statue of Edward, along with its accompanying figures, decorated a gateway in the new complex. In 1872, following the complete reconstruction of the hospital on land further up the River Thames at Lambeth, the statue was moved to the new site and has been repositioned subsequently.
|
[
"Sir Robert Clayton",
"classical",
"Southwark",
"Thomas Cartwright",
"master mason",
"St Thomas' Hospital",
"Christopher Wren",
"Church of St Mary Overie",
"River Thames",
"St Paul's Cathedral",
"Lambeth"
] |
|
13788_T
|
Statue of Edward VI (Cartwright)
|
Focus on Statue of Edward VI (Cartwright) and explain the Description.
|
The statue was commissioned by Robert Clayton, designed by Nathaniel Hanwell and carved by Thomas Cartwright. It formed the centrepiece of a grouping that stood on the gateway to the hospital from Borough High Street. The king was originally flanked by carvings of two pairs of disabled figures; since 2019 these have been on display at the Science Museum. The statue is of Purbeck limestone and the order for "effigies of King Edward the Sixth and fower cripples to be carved in stone" was placed on 11 November 1681. Cartwright charged £190 for the work.The king is portrayed in Tudor clothing and wearing a crown. He holds a sceptre in his right hand and the charter authorising the re-establishment of St Thomas' in his left. The statue stands on a modern plinth. The statue was listed as a Grade II* structure in 1979.
|
[
"Tudor",
"Thomas Cartwright",
"Purbeck limestone",
"Borough High Street",
"Science Museum",
"sceptre"
] |
|
13788_NT
|
Statue of Edward VI (Cartwright)
|
Focus on this artwork and explain the Description.
|
The statue was commissioned by Robert Clayton, designed by Nathaniel Hanwell and carved by Thomas Cartwright. It formed the centrepiece of a grouping that stood on the gateway to the hospital from Borough High Street. The king was originally flanked by carvings of two pairs of disabled figures; since 2019 these have been on display at the Science Museum. The statue is of Purbeck limestone and the order for "effigies of King Edward the Sixth and fower cripples to be carved in stone" was placed on 11 November 1681. Cartwright charged £190 for the work.The king is portrayed in Tudor clothing and wearing a crown. He holds a sceptre in his right hand and the charter authorising the re-establishment of St Thomas' in his left. The statue stands on a modern plinth. The statue was listed as a Grade II* structure in 1979.
|
[
"Tudor",
"Thomas Cartwright",
"Purbeck limestone",
"Borough High Street",
"Science Museum",
"sceptre"
] |
|
13789_T
|
Statue of Metjen
|
Explore the abstract of this artwork, Statue of Metjen.
|
The Statue of Metjen is on display in the Egyptian Museum in Berlin and has the inventory number ÄM 1106. The statue was discovered at Abusir in Metjen's mastaba by the Egyptian expedition (1842–1845) under the direction of the Prussian scholar Karl Richard Lepsius. The statue and the mastaba were bought to the museum in Berlin. The statue is an early example of an Egyptian statue belonging to a private individual. Metjen lived at the end of the Third Dynasty and the beginning of the Fourth Dynasty (around 2600 BC). The statue is made of granite and about 47 cm high. It is datable under king Snofru.
Metjen is shown sitting on a chair. His right hand forms a fist and is placed on the chest, the left hand is placed on the leg. Metjen wears short curly hair. On the sides of the chair are inscriptions providing Metjen's name and his titles. The statue was once placed in the serdab of the mastaba and was therefore only visible via a small hole in the wall.
The statue belongs to the small group of private statues datable to the Egyptian Third Dynasty and earliest Fourth Dynasty. They are all made of hard stone and appear somehow clumsy and heavy. The statue of Metjen is the latest one of them. The statue belongs therefore stylistically between those of the Third Dynasty and those of the Fourth Dynasty. Its head is slightly too large, the small dimensions and the hieroglyphic texts in raised relief connects the statue with the Third Dynasty. Typical for the Fourth Dynasty are the positions of the hands and the chair, that does no longer copies a real chair as in the Third Dynasty.
|
[
"Fourth Dynasty",
"granite",
"Abusir",
"Egyptian Museum in Berlin",
"Karl Richard Lepsius",
"Third Dynasty",
"serdab",
"mastaba",
"Snofru",
"Metjen"
] |
|
13789_NT
|
Statue of Metjen
|
Explore the abstract of this artwork.
|
The Statue of Metjen is on display in the Egyptian Museum in Berlin and has the inventory number ÄM 1106. The statue was discovered at Abusir in Metjen's mastaba by the Egyptian expedition (1842–1845) under the direction of the Prussian scholar Karl Richard Lepsius. The statue and the mastaba were bought to the museum in Berlin. The statue is an early example of an Egyptian statue belonging to a private individual. Metjen lived at the end of the Third Dynasty and the beginning of the Fourth Dynasty (around 2600 BC). The statue is made of granite and about 47 cm high. It is datable under king Snofru.
Metjen is shown sitting on a chair. His right hand forms a fist and is placed on the chest, the left hand is placed on the leg. Metjen wears short curly hair. On the sides of the chair are inscriptions providing Metjen's name and his titles. The statue was once placed in the serdab of the mastaba and was therefore only visible via a small hole in the wall.
The statue belongs to the small group of private statues datable to the Egyptian Third Dynasty and earliest Fourth Dynasty. They are all made of hard stone and appear somehow clumsy and heavy. The statue of Metjen is the latest one of them. The statue belongs therefore stylistically between those of the Third Dynasty and those of the Fourth Dynasty. Its head is slightly too large, the small dimensions and the hieroglyphic texts in raised relief connects the statue with the Third Dynasty. Typical for the Fourth Dynasty are the positions of the hands and the chair, that does no longer copies a real chair as in the Third Dynasty.
|
[
"Fourth Dynasty",
"granite",
"Abusir",
"Egyptian Museum in Berlin",
"Karl Richard Lepsius",
"Third Dynasty",
"serdab",
"mastaba",
"Snofru",
"Metjen"
] |
|
13790_T
|
Night Train (painting)
|
Focus on Night Train (painting) and discuss the abstract.
|
Night Train (Le train de nuit) is a 1947 painting by Belgian artist Paul Delvaux, famous for his paintings of female nudes. The painting is 153 x 210 centimetres and is now in the Museum of Modern Art, in Toyama, in Japan.Delvaux painted this artwork at a time when he felt trapped in a loveless marriage.: 231 He wished "to paint boredom, sadness and the desire to get away from it all... There is this nostalgic aspect about waiting rooms where people pass by briefly before leaving... I tried to capture the beauty of the waiting room in an empty station. People are not necessary, for a station has its own life".According to Christie's, this work is "a powerful poetic expression of the overwhelming sense of paralysis and imprisonment Delvaux was experiencing at the time":Depicting the stillness and ennui of a station waiting room infused with the languid erotic mystery of a sleeping nude and a lone train pulling into a station, the picture's main subject seems to be the articulation of a terrifying emptiness. The moonlit station clock and the empty gaze of the upright receptionist sitting to attention at her desk, echoed by her reflection in the mirror, seem to emphasize the frozen nature of time and space extending into infinity, while the nude lies bored and restless underneath a bleak sign advertising the endless cycle of arrivals and departures.
|
[
"Christie's",
"Japan",
"Toyama",
"Museum of Modern Art",
"Paul Delvaux"
] |
|
13790_NT
|
Night Train (painting)
|
Focus on this artwork and discuss the abstract.
|
Night Train (Le train de nuit) is a 1947 painting by Belgian artist Paul Delvaux, famous for his paintings of female nudes. The painting is 153 x 210 centimetres and is now in the Museum of Modern Art, in Toyama, in Japan.Delvaux painted this artwork at a time when he felt trapped in a loveless marriage.: 231 He wished "to paint boredom, sadness and the desire to get away from it all... There is this nostalgic aspect about waiting rooms where people pass by briefly before leaving... I tried to capture the beauty of the waiting room in an empty station. People are not necessary, for a station has its own life".According to Christie's, this work is "a powerful poetic expression of the overwhelming sense of paralysis and imprisonment Delvaux was experiencing at the time":Depicting the stillness and ennui of a station waiting room infused with the languid erotic mystery of a sleeping nude and a lone train pulling into a station, the picture's main subject seems to be the articulation of a terrifying emptiness. The moonlit station clock and the empty gaze of the upright receptionist sitting to attention at her desk, echoed by her reflection in the mirror, seem to emphasize the frozen nature of time and space extending into infinity, while the nude lies bored and restless underneath a bleak sign advertising the endless cycle of arrivals and departures.
|
[
"Christie's",
"Japan",
"Toyama",
"Museum of Modern Art",
"Paul Delvaux"
] |
|
13791_T
|
Christ Carrying the Cross (Titian)
|
How does Christ Carrying the Cross (Titian) elucidate its abstract?
|
Christ Carrying the Cross (also Ecce Homo) is an oil painting attributed to either Titian or Giorgione. It is dated to about 1505. The painting is housed in the Scuola Grande di San Rocco in Venice, Italy. There are several later versions of the subject by Titian.
|
[
"Scuola Grande di San Rocco",
"Titian",
"Christ Carrying the Cross",
"oil painting",
"Venice",
"Giorgione"
] |
|
13791_NT
|
Christ Carrying the Cross (Titian)
|
How does this artwork elucidate its abstract?
|
Christ Carrying the Cross (also Ecce Homo) is an oil painting attributed to either Titian or Giorgione. It is dated to about 1505. The painting is housed in the Scuola Grande di San Rocco in Venice, Italy. There are several later versions of the subject by Titian.
|
[
"Scuola Grande di San Rocco",
"Titian",
"Christ Carrying the Cross",
"oil painting",
"Venice",
"Giorgione"
] |
|
13792_T
|
Christ Carrying the Cross (Titian)
|
Focus on Christ Carrying the Cross (Titian) and analyze the History.
|
The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. It was originally located in the church of San Rocco, annexed to the eponymous Scuola where it is now, although it is unknown if it was on a pillar near the high altar or in a side chapel.The attribution of the work has been disputed since the 16th century: Giorgio Vasari in both the first (1550) and second (1568) edition of his Lives assigns it to Giorgione and Titian at the same time. Further, both Titian and Giorgione had a connection with the guild which held the church and the Scuola; Giorgione was a friend of painter Vincenzo Catena, a member of the guild.The composition inspired numerous painters in Veneto and Lombardy, such as Lorenzo Lotto, Giovanni Bellini and Andrea Solario.
|
[
"Giovanni Bellini",
"Giorgio Vasari",
"Andrea Solario",
"Veneto",
"Lives",
"Titian",
"Lorenzo Lotto",
"Lombardy",
"Andrea Solari",
"Vincenzo Catena",
"Giorgione"
] |
|
13792_NT
|
Christ Carrying the Cross (Titian)
|
Focus on this artwork and analyze the History.
|
The painting is mentioned in several historical documents, since it has been the subject of veneration and devotion, due to its alleged miraculous properties. It was originally located in the church of San Rocco, annexed to the eponymous Scuola where it is now, although it is unknown if it was on a pillar near the high altar or in a side chapel.The attribution of the work has been disputed since the 16th century: Giorgio Vasari in both the first (1550) and second (1568) edition of his Lives assigns it to Giorgione and Titian at the same time. Further, both Titian and Giorgione had a connection with the guild which held the church and the Scuola; Giorgione was a friend of painter Vincenzo Catena, a member of the guild.The composition inspired numerous painters in Veneto and Lombardy, such as Lorenzo Lotto, Giovanni Bellini and Andrea Solario.
|
[
"Giovanni Bellini",
"Giorgio Vasari",
"Andrea Solario",
"Veneto",
"Lives",
"Titian",
"Lorenzo Lotto",
"Lombardy",
"Andrea Solari",
"Vincenzo Catena",
"Giorgione"
] |
|
13793_T
|
Christ Carrying the Cross (Titian)
|
In Christ Carrying the Cross (Titian), how is the Description discussed?
|
Jesus is portrayed with a cross on his shoulder, against a dark background, while an executioner is holding a noose on his neck. At the side are two secondary figures. Jesus, with a doleful expression, is looking towards the seer. The profile of the executioner and of the side figures were perhaps inspired by Leonardo da Vinci's drawings, which would be part of Venetian collections at the time. Although the subject of Christ Carrying the Cross had long been common for Italian art, Titian was following a type of "close-up" composition that had only recently been introduced to Northern Italy, from German or northern European examples.The painting features elements which were typical of both Titian and Giorgione: the sfumato contour of the figures and the inhomogeneous colors were common in the latter's works, while the robustness of the characters and their active participation to the event (differently than the quasi-dreaming contemplation of Giorgione) are a Titian hallmark.
|
[
"Titian",
"Christ Carrying the Cross",
"Leonardo da Vinci",
"Giorgione",
"sfumato"
] |
|
13793_NT
|
Christ Carrying the Cross (Titian)
|
In this artwork, how is the Description discussed?
|
Jesus is portrayed with a cross on his shoulder, against a dark background, while an executioner is holding a noose on his neck. At the side are two secondary figures. Jesus, with a doleful expression, is looking towards the seer. The profile of the executioner and of the side figures were perhaps inspired by Leonardo da Vinci's drawings, which would be part of Venetian collections at the time. Although the subject of Christ Carrying the Cross had long been common for Italian art, Titian was following a type of "close-up" composition that had only recently been introduced to Northern Italy, from German or northern European examples.The painting features elements which were typical of both Titian and Giorgione: the sfumato contour of the figures and the inhomogeneous colors were common in the latter's works, while the robustness of the characters and their active participation to the event (differently than the quasi-dreaming contemplation of Giorgione) are a Titian hallmark.
|
[
"Titian",
"Christ Carrying the Cross",
"Leonardo da Vinci",
"Giorgione",
"sfumato"
] |
|
13794_T
|
The Risen Christ in Glory
|
Focus on The Risen Christ in Glory and explain the abstract.
|
The Risen Christ in Glory is an oil on panel painting by Rosso Fiorentino, created c. 1528-1530. OIt is held in the Diocesan Museum in the Città di Castello. It shows the risen Christ with (from left to right) Mary Magdalene, the Virgin Mary, Saint Anne and Mary of Egypt.
|
[
"Mary Magdalene",
"Mary of Egypt",
"Città di Castello",
"Saint Anne",
"Diocesan Museum",
"Rosso Fiorentino",
"Virgin Mary"
] |
|
13794_NT
|
The Risen Christ in Glory
|
Focus on this artwork and explain the abstract.
|
The Risen Christ in Glory is an oil on panel painting by Rosso Fiorentino, created c. 1528-1530. OIt is held in the Diocesan Museum in the Città di Castello. It shows the risen Christ with (from left to right) Mary Magdalene, the Virgin Mary, Saint Anne and Mary of Egypt.
|
[
"Mary Magdalene",
"Mary of Egypt",
"Città di Castello",
"Saint Anne",
"Diocesan Museum",
"Rosso Fiorentino",
"Virgin Mary"
] |
|
13795_T
|
The Risen Christ in Glory
|
Explore the History of this artwork, The Risen Christ in Glory.
|
Rosso signed the contract for the work on 1 July 1528 in Città di Castello. It had been commissioned by the local Company of the Corpus Domini. The contract stipulated the subject as the risen Christ in glory with four saints, all above "many and diverse figures which signify, represent the people, with as many angels as he [the painter] can accommodate".
|
[
"Città di Castello",
"Corpus Domini"
] |
|
13795_NT
|
The Risen Christ in Glory
|
Explore the History of this artwork.
|
Rosso signed the contract for the work on 1 July 1528 in Città di Castello. It had been commissioned by the local Company of the Corpus Domini. The contract stipulated the subject as the risen Christ in glory with four saints, all above "many and diverse figures which signify, represent the people, with as many angels as he [the painter] can accommodate".
|
[
"Città di Castello",
"Corpus Domini"
] |
|
13796_T
|
Saint Simon (Master Theodoric)
|
Focus on Saint Simon (Master Theodoric) and discuss the Description and classification.
|
The background of the painting partially preserves metal gilding applications. The Apostle Saint Simeon of Canaan is depicted with a book and one of his attributes, a short sword.
Examination of the image using infrared reflectography revealed a fine and detailed underdrawing in the face and a sovereign drapery sketch. The painting's execution places the work among the major works of Master Theodoric. Compared to his masterpieces, the painting with St. Simon is characterized by a harder and more schematic rendering in the incarnations, a certain flattening and simplification of the face, and less plasticity in the drapery. The long hair and beard are twisted in regular meanders, similar to the paintings of St. Matthew and St. Philip. The painting is exceptional in that it partially preserves metal gilding elements. These originally decorated several paintings. Traces of their attachment are most often found in the halos.
The ornaments are cast from a mixture of lead and tin, gilded on the surface. They repeat architectural motifs that have analogous counterparts in Peter Parler´s works: triangular pennants with quadrillobes and crabs, rosettes and Gothic windows with crosses. They are analogous to the so-called pilgrim badges, which were mass-produced and sold at pilgrimage sites in Western Europe, and also during the Prague pilgrimages to the Holy Relics during the reign of Charles IV.The cooperation of Theodoric with goldsmiths is indirectly evidenced by some written documents, e.g. a letter of King Wenceslus IV from 1381. Theodoric apparently died without heirs and his estate in Mořina was sold by two later owners, Mikuláš Mendik of Plos (Jílový), father of the goldsmith Jorg, and the Prague goldsmith Jan Waczenste (Vacenser). How they became owners of the estate cannot be ascertained from the deed.In the Chapel of the Holy Cross, the image of St. Simon is placed next to St. Judas Thaddeus, with whom he shares the feast day of 28 October in the Western Christian Church. On this day, the relics of both apostles were transferred to St. Peter's Basilica in Rome. Simon worked with Judas Thaddaeus in Armenia and then in Persia, where he was crucified and sawed to pieces, killed or hacked to pieces. Therefore, he is more often depicted with another attribute - a saw, possibly an axe, or a cross.
|
[
"Theodoric",
"St. Peter's Basilica",
"King Wenceslus IV",
"Chapel of the Holy Cross",
"Master Theodoric",
"St. Simon",
"Armenia",
"infrared reflectography",
"Rome",
"Saint Simeon of Canaan",
"Peter Parler",
"Persia",
"St. Judas Thaddeus",
"Charles IV"
] |
|
13796_NT
|
Saint Simon (Master Theodoric)
|
Focus on this artwork and discuss the Description and classification.
|
The background of the painting partially preserves metal gilding applications. The Apostle Saint Simeon of Canaan is depicted with a book and one of his attributes, a short sword.
Examination of the image using infrared reflectography revealed a fine and detailed underdrawing in the face and a sovereign drapery sketch. The painting's execution places the work among the major works of Master Theodoric. Compared to his masterpieces, the painting with St. Simon is characterized by a harder and more schematic rendering in the incarnations, a certain flattening and simplification of the face, and less plasticity in the drapery. The long hair and beard are twisted in regular meanders, similar to the paintings of St. Matthew and St. Philip. The painting is exceptional in that it partially preserves metal gilding elements. These originally decorated several paintings. Traces of their attachment are most often found in the halos.
The ornaments are cast from a mixture of lead and tin, gilded on the surface. They repeat architectural motifs that have analogous counterparts in Peter Parler´s works: triangular pennants with quadrillobes and crabs, rosettes and Gothic windows with crosses. They are analogous to the so-called pilgrim badges, which were mass-produced and sold at pilgrimage sites in Western Europe, and also during the Prague pilgrimages to the Holy Relics during the reign of Charles IV.The cooperation of Theodoric with goldsmiths is indirectly evidenced by some written documents, e.g. a letter of King Wenceslus IV from 1381. Theodoric apparently died without heirs and his estate in Mořina was sold by two later owners, Mikuláš Mendik of Plos (Jílový), father of the goldsmith Jorg, and the Prague goldsmith Jan Waczenste (Vacenser). How they became owners of the estate cannot be ascertained from the deed.In the Chapel of the Holy Cross, the image of St. Simon is placed next to St. Judas Thaddeus, with whom he shares the feast day of 28 October in the Western Christian Church. On this day, the relics of both apostles were transferred to St. Peter's Basilica in Rome. Simon worked with Judas Thaddaeus in Armenia and then in Persia, where he was crucified and sawed to pieces, killed or hacked to pieces. Therefore, he is more often depicted with another attribute - a saw, possibly an axe, or a cross.
|
[
"Theodoric",
"St. Peter's Basilica",
"King Wenceslus IV",
"Chapel of the Holy Cross",
"Master Theodoric",
"St. Simon",
"Armenia",
"infrared reflectography",
"Rome",
"Saint Simeon of Canaan",
"Peter Parler",
"Persia",
"St. Judas Thaddeus",
"Charles IV"
] |
|
13797_T
|
Charity of St Thomas of Villanova
|
Focus on Charity of St Thomas of Villanova and analyze the abstract.
|
Charity of St Thomas of Villanova is an etching by Melchiorre Caffà from the 1660s.
|
[
"Melchiorre Caffà"
] |
|
13797_NT
|
Charity of St Thomas of Villanova
|
Focus on this artwork and analyze the abstract.
|
Charity of St Thomas of Villanova is an etching by Melchiorre Caffà from the 1660s.
|
[
"Melchiorre Caffà"
] |
|
13798_T
|
Charity of St Thomas of Villanova
|
In Charity of St Thomas of Villanova, how is the Description discussed?
|
The print's dimensions are 60 x 40 centimeters.
It is in the collection of MUŻA in Valletta, Malta.
|
[
"Valletta",
"MUŻA",
"Malta"
] |
|
13798_NT
|
Charity of St Thomas of Villanova
|
In this artwork, how is the Description discussed?
|
The print's dimensions are 60 x 40 centimeters.
It is in the collection of MUŻA in Valletta, Malta.
|
[
"Valletta",
"MUŻA",
"Malta"
] |
|
13799_T
|
Charity of St Thomas of Villanova
|
Focus on Charity of St Thomas of Villanova and explore the Analysis.
|
It is an illustration of the sculpture in the church of Sant'Agostino in Rome.
|
[
"church of Sant'Agostino",
"Rome"
] |
|
13799_NT
|
Charity of St Thomas of Villanova
|
Focus on this artwork and explore the Analysis.
|
It is an illustration of the sculpture in the church of Sant'Agostino in Rome.
|
[
"church of Sant'Agostino",
"Rome"
] |
|
13800_T
|
Buhl Altarpiece
|
Focus on Buhl Altarpiece and explain the abstract.
|
The Buhl Altarpiece (French: Retable de Buhl) is a late 15th-century, Gothic altarpiece of colossal dimensions now kept in the parish church Église Saint-Jean-Baptiste of Buhl in the Haut-Rhin département of France. It was painted by followers of Martin Schongauer, most probably for the convent of the Dominican sisters of Saint Catherine of Colmar, and moved to its present location in the early 19th century. It is classified as a Monument historique by the French Ministry of Culture (see below, History).
The altarpiece depicts five scenes from the Passion of Jesus, four scenes from the Life of the Virgin, and a Last Judgment.
|
[
"Haut-Rhin",
"History",
"Last Judgment",
"French Ministry of Culture",
"convent",
"altarpiece",
"Passion of Jesus",
"Colmar",
"Dominican",
"Altarpiece",
"Monument historique",
"Haut-Rhin département",
"Buhl",
"Saint Catherine",
"Martin Schongauer",
"Life of the Virgin",
"Gothic",
"parish church"
] |
|
13800_NT
|
Buhl Altarpiece
|
Focus on this artwork and explain the abstract.
|
The Buhl Altarpiece (French: Retable de Buhl) is a late 15th-century, Gothic altarpiece of colossal dimensions now kept in the parish church Église Saint-Jean-Baptiste of Buhl in the Haut-Rhin département of France. It was painted by followers of Martin Schongauer, most probably for the convent of the Dominican sisters of Saint Catherine of Colmar, and moved to its present location in the early 19th century. It is classified as a Monument historique by the French Ministry of Culture (see below, History).
The altarpiece depicts five scenes from the Passion of Jesus, four scenes from the Life of the Virgin, and a Last Judgment.
|
[
"Haut-Rhin",
"History",
"Last Judgment",
"French Ministry of Culture",
"convent",
"altarpiece",
"Passion of Jesus",
"Colmar",
"Dominican",
"Altarpiece",
"Monument historique",
"Haut-Rhin département",
"Buhl",
"Saint Catherine",
"Martin Schongauer",
"Life of the Virgin",
"Gothic",
"parish church"
] |
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